14th edition - West Coast – Oeiras Early Music Festival
The 14th edition of the 'West Coast – Oeiras Early Music Festival' presents a program with diversified activities linked to early music dissemination, particularly of the musical heritage and activity of the renowned European musicians in interaction with several international projects.
Being part of MAAC cultural association early music network and as REMA – European Network of Early Music member, the West Coast has the support of Oeiras Municipality and Portuguese Ministry of Culture (DGArtes). The festival opens with the 1st Exhibition of Early Music Discography in Portugal. In a period when musical editions are diluted in the most diverse digital media platforms, it is important to analyse what has been done in the past and what are the paths for the future in this field. The masterclasses of world-renowned musicians, the visit to historical organs and the baroque dance workshop complete the festival's fringe activities.
The concerts will take place on the weekends, between November 1st and December 4th. The modern premiere of the work Matuttino De Morti by David Perez (1711-1778), in the 18th century version Viseu Manuscript, presented by Capella Joanina Ensemble stands out as a concert program. This work has marked style of voice and orchestra composition in Portugal after 1770. Additionally, we have the participation of the ensembles La Fenice aVenire, under Jean Tubéry direction; Flores de Mvsica directed by João Janeiro; Voces Caelestes Choir; the soprano Ana Quintans, the violinist Lorenzo Colitto and the Meridional Ensemble. In counterpart, the festival opens opportunities for new projects in early music field, such as the Hyphen Ensemble from France. Concert Venues are Marquis de Pombal Palace, Oeiras main church and Chapel of Nossa Senhora de Santo Amaro.
The concert programs of the festival point out to the musical contexts of the post-Baroque and Classic period, in which the Naples and Vienna Schools stood out, offering a plethora of repertoires sacred and profane, chamber music, songs for choir and the solo song with pianoforte accompaniment. There is also a particular area for musical composition by women in the late eighteenth century. For a long time, programmers and musicians have continuously ignored these ‘artistic voices’, but now everyone is discovering more and more women composers from the Baroque period onwards.